- Release Date: 05/10/2022
- Platform: Netflix
- Cast: Tabu, Wamiqa Gabbi, Ali Fazal, Azmeri Haque Badhon, Ashish Vidyarthi
- Director: Vishal Bhardwaj
‘Khufiya‘ chronicles the story of Krishna Mehra, also known as KM, in the intelligence circuit. She is entrusted with the task of finding a mole within the R&AW (Research and Analysis Wing) after a high-stakes and top-secret agency mission fails, resulting in the brutal murder of the agent carrying out the mission. KM shares a close connection with this agent, and the mission becomes as much a personal issue for her as it is a matter of national security. While KM is determined to expose the mole within the agency, we also witness her struggle to maintain a balance between her professional and personal life. As if that weren’t challenging enough, the film delves deep into the life and family dynamics of the man whom the agency suspects to be the mole among them, Ravi Mohan (played by Ali Fazal). Despite having substantial evidence against him, the R&AW keeps him under surveillance, hoping to trace the puppeteer pulling the strings at a higher level. What happens when all these elements come together is the essence of what Vishal Bhardwaj’s ‘Khufiya’ is all about.
Intriguing from start to finish, but with drama that doesn’t always work:
The basic premise of the story and how R&AW goes about uncovering the mole within the agency, along with the broader plan concealed under the guise of a simple counterintelligence operation, is intriguing. It becomes even more captivating due to Vishal Bhardwaj’s skilful weaving of the human elements of the characters in question, portraying them as flawed individuals with a sense of humour, peculiarities, and a profound sense of duty. This not only quickly endears these characters to the audience but also fosters a genuine interest in how their stories unfold.
The film takes elaborate and sometimes unnecessarily long and vexing detours into the lives of Ravi Mohan and his wife Charu (Wamiqa Gabbi). I understand that Vishal Bhardwaj has a penchant for old Hindi film songs, given his role as a lyricist and music director, but was it entirely necessary to include at least two full-length Hindi songs during one of the film’s tensest and most critical junctures, featuring Wamiqa Gabbi in a literal striptease? It would have been a perfectly skippable portion if not for the allure of Wamiqa. Chuckle! Chuckle!
This isn’t the only part of the film where the screenplay seems to go overboard in its treatment of the characters, stretching the time it takes to get to the point. Another section that felt awfully tedious was Charu’s search for her husband and child, which is again portrayed through a song by ‘Indian Ocean,’ featuring Rahul Ram, who also plays an important character in the film. I wasn’t particularly captivated by the music or the songs from the film, and this instantly made these portions of the film feel like a drag. A similar issue arose when the character of KM sheds light on a key character whose murder initiates the events of the film. This character, portrayed by Azmeri Haque Badhon, shared a lesbian romantic relationship with Tabu and was arguably the most engaging character in the first half of the film. However, each time the two characters engage in an awkward and off-putting romantic exchange, the pacing of the story starts suffering.
The culmination of the story felt too far-fetched:
While I was intrigued for most of the story, I have to admit that it ended in a manner that is hard to digest. The director cleverly keeps us guessing about the motivations of the character Ravi Mohan, making us wonder whether he is actually a traitor or not, and if he is, then why did he betray his country. I watched the film twice and never got a clear answer to this question. If that wasn’t enough, the R&AW offers him an opportunity at the end of the film that felt so ludicrous that it immediately took me out of the experience. There are events depicted here that are so out of this world and feel so flimsy that it becomes challenging to take the film seriously.
It must be noted that ‘Khufiya’ is based on the book ‘Escape to Nowhere’ by Amar Bhushan. I would have expected the screenplay to be a lot more realistic and on point in terms of its story, presentation, realism, and what can be expected of different clandestine agencies as they interact with each other. Whether it was the book that got it wrong or the treatment of the film that made it feel unrealistic and corny towards the end of the story can only be ascertained by comparing the book and the film side by side. However, the book is marketed as a fictional tale loosely based on a true story. This gives the writer and, in the case of the film, the director, the creative freedom to explore their ideas. However, in doing so, they lose their grasp of the realism that was absolutely critical in ensuring that the film maintained a vice-like grip on our attention and senses.
Superb performances by the ensemble cast:
This is a no-brainer. All Vishal Bhardwaj films have this inherent quality, and it is by far the most recognisable trait of a Bhardwaj film, alongside its Shakespearean undertones, earthy music, and gripping narrative quality. Tabu is in her element here, delivering a fantastic performance. She not only brings out the frustrations and shortcomings of a mother, an intelligence officer, and a closeted lesbian in different situations but also shapes our opinion of her character in various circumstances, eliciting different feelings from the audience. No matter how off-putting, her intimate scenes with Azmeri Haque Badhon work well, both during the romantic exchanges and the moments when the two are trying to outmanoeuvre each other. It remains unclear until the very end whether the two can trust each other, adding to the drama in their numerous interactions. I was particularly impressed by Tabu’s performance in the scenes she shares with her husband, played by Atul Kulkarni.
Ali Fazal can be a great actor in characters that suit his oddball and brooding mannerisms, which he excels at portraying. In this film, the character aligns perfectly with his strengths as an actor, and the director makes the most of this unique opportunity. He feels so lifelike and effective as Ravi Mohan, a man torn between his desires and doing what is right, that it is hard to not be impressed by his performance. One glance at the character, and you understand his discomfort and anxiety. He is constantly weighed down by his actions and the repercussions of it. The only times he appears comfortable and happy are when he’s with his wife and child. This too changes towards the end of the film when a different facet of his character is revealed – one that is unwilling to trust even his own wife and wouldn’t mind sacrificing her to ensure his own survival. Ali Fazal skillfully brings out these complicated and nuanced aspects of his character.
Wamiqa Gabbi and Azmeri Haque Badhon were superb in their respective roles. Wamiqa’s character receives much more screen time and she does her best to justify every second of it. I was impressed by how effectively she held my attention during long sequences where she was depicted doing various activities on her own, assuming no one was watching her. These scenes not only work because of her excellent portrayal but also because she manages to evoke intrigue and interest through her performance. As the film progresses, her character undergoes a transformation that’s quite different from what we initially assumed, adding depth to her role. Azmeri Haque Badhon, on the other hand, portrays a straightforward character but with a lot of charisma and heightened drama. To hold one’s own while sharing the screen with Tabu and not fading into the background is a remarkable achievement in itself. Badhon maintains her presence and impact on the screen, even in scenes alongside Tabu, and in some unique moments, she even manages to outshine her.
Addressing LGBTQ issues for the right reasons:
As is evident from my review, the character of Krishna Mehra is a lesbian, and her sexuality plays a significant role in how she perceives the world and responds to certain moments. The inclusion of this sexual orientation angle was necessary as it added depth to the drama and elevated a particular character dynamic to a level it wouldn’t have reached without the precursor of the sexual attraction angle. Vishal Bhardwaj handles this angle with subtlety, making it an integral part of the story. This ensures that the audience doesn’t feel like they have been forcibly presented with a modern issue that doesn’t even apply to the majority of the Indian population merely for the sake of being “woke”. The inclusion of this angle leads to some interesting exchanges and also allows the director to highlight a few aspects of the characters and society that he might not have been able to convey under different circumstances.
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Final Words:
‘Khufiya’ delivers a gripping narrative with standout performances by Tabu, Ali Fazal, Wamiqa Gabbi, and Azmeri Haque Badhon. While the film’s exploration of espionage and personal drama is engaging, it occasionally veers into lengthy and unnecessary diversions that could have been streamlined. The characters are well-crafted, and the portrayal of LGBTQ themes is subtle and integral to the plot. However, the story’s conclusion feels far-fetched and somewhat weak. Vishal Bhardwaj’s signature style is evident, though not as impactful as in his previous works like ‘Maqbool,’ ‘Haider,’ and ‘Omkara.’ Overall, ‘Khufiya’ is a compelling espionage thriller with standout acting, offering a departure from typical Bollywood spy-action fare.
Rating: 3/5 (3 out of 5 Stars)
The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.
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